Tarot Runes I Ching Stichomancy Contact
Store Numerology Coin Flip Yes or No Webmasters
Personal Celebrity Biorhythms Bibliomancy Settings

Today's Stichomancy for Simon Cowell

The first excerpt represents the past or something you must release, and is drawn from War and Peace by Leo Tolstoy:

were many officers and generals in full parade uniform, whom he had to pass.

Cursing his temerity, his heart sinking at the thought of finding himself at any moment face to face with the Emperor and being put to shame and arrested in his presence, fully alive now to the impropriety of his conduct and repenting of it, Rostov, with downcast eyes, was making his way out of the house through the brilliant suite when a familiar voice called him and a hand detained him.

"What are you doing here, sir, in civilian dress?" asked a deep voice.

It was a cavalry general who had obtained the Emperor's special


War and Peace
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Complete Poems of Longfellow by Henry Wadsworth Longfellow:

CHRISTUS. The food I speak of is to do the will Of Him that sent me, and to finish his work. Do ye not say, Lo! there are yet four months And cometh, harvest? I say unto you, Lift up your eyes, and look upon the fields, For they are white already unto harvest!

VII

THE COASTS OF CAESAREA PHILIPPI

CHRISTUS, going up the mountain. Who do the people say I am?

The third excerpt represents the future or something you must embrace, and is drawn from Intentions by Oscar Wilde:

design, yet the details were not assigned that abnormal importance which they must necessarily be given in a piecemeal lecture, but were subordinated to the rules of lofty composition and the unity of artistic effect. Mr. Symonds, speaking of that great picture of Mantegna's, now in Hampton Court, says that the artist has converted an antiquarian motive into a theme for melodies of line. The same could have been said with equal justice of Mr. Godwin's scene. Only the foolish called it pedantry, only those who would neither look nor listen spoke of the passion of the play being killed by its paint. It was in reality a scene not merely perfect in its picturesqueness, but absolutely dramatic also, getting rid